Rather than accept the label of neurotic, Fraser donned the mantle of analyst, stating in her written contribution to the 2012 Whitney Biennial that artists who continue to work within the art system are not hypocrites or frauds, and do not act in bad faith; rather, they acknowledge the forces of repression while leaving undefined the ways in which further associations might relink the.
I also especially like the 2012 catalog content that includes critical essays by John Kelsey and Andrea Fraser. I hope to build on their model, but I also hope to reach out directly to artists and.
Andrea Fraser has been identified with institutional critique, feminist practice, group relations, project-based art, and context art. She has worked in performance, video, installation, sound, text, and a range of other mediums. Major works include projects for the Berkeley Art Museum (1992); the Kunstverein Munich (1993); the Venice Biennale (Austrian Pavilion, 1993)); the Whitney Biennial.Sculpture, painting, installations, and photography—as well as dance, theater, music, and film—will fill the galleries of the Whitney Museum of American Art in the latest edition of the Whitney Biennial. With a roster of artists at all points in their careers the Biennial provides a look at the current state of contemporary art in America.Andrea Fraser (1965, Billings, Montana) is an artist and Professor in the Department of Art at the University of California, Los Angeles. Her work has been identified with performance, video, project-based art, context art, and institutional critique. Contents. 1 Films, videos; 2 Writings, Catalogues. 2.1 Catalogues, monographs; 2.2 Essays; 3 Interviews; 4 Literature; 5 Links; She studied at.
Andrea Fraser is an artist whose provocative performance and video work centers on social and institutional critique. In the most general sense I understand the relational as the fundamental object and field of competence of all artistic practice as well as a central point of interface between developments in art and a variety of other fields. The perception, composition, and manipulation of.Read More
Andrea Fraser (187) Writing this essay and the prospect of contributing to the 2012 Whitney Biennial are no exception. As I begin working on this text, the Occupy Wall Street movement is spreading across the United States and beyond. Along with many of what is most certainly an overwhelming majority of artists, curators, art critics.Read More
Interview with Andrea Fraser on exposing the art world from within From mock guided tours to a sexual encounter with a collector, Fraser’s art is a unique form of institutional critique.Read More
The artist Andrea Fraser has made a career of institutional critique; her inclusion in the 2012 Whitney Biennial may be a sign of this particular genre’s renewed cachet. The Biennial is traditionally viewed as an indicator of the art world’s general mood, and in 2012 this mood was introspective art-about-art. The New York Times’ Roberta Smith praised the show for its avoidance of.Read More
This conversation with Andrea Fraser took place in January, on the day that followed her performance of Men on the Line: Men Committed to Feminism, KPFK, 1972 at the ICA Boston.Fraser has gained much recognition for her engagement in Institutional Critique, with pieces such as Museum Highlights (1989), Little Frank and His Carp (2001), and the now notorious Untitled. 1.Read More
John Reed keeps it real and critical with this year’s much-anticipated 2012 Whitney Biennial.Read More
Syntax; Advanced Search; New. All new items; Books; Journal articles; Manuscripts; Topics. All Categories; Metaphysics and Epistemology.Read More
The Whitney Biennial is a biennale exhibition of contemporary American art, typically by young and lesser known artists, on display at the Whitney Museum of American Art in New York City, United States.The event began as an annual exhibition in 1932, the first biennial was in 1973. The Whitney show is generally regarded as one of the leading shows in the art world, often setting or leading.Read More
In Fraser’s view negation is a defensive manoeuvre that allows the curator, the artist, and the spectator to forget his own complacency with the world’s social inequalities and his own sense of impotence in the face of systemic contradictions that are too hard to bear. Likewise, the APT8 epitomizes how contemporary art criticism may perform the role of providing “for just enough distance.Read More